This blog is not about religion but its central theme is the divine origin of Creation. How, through harmony and proportion it is possible to recognize those signs in some elements in nature as well as in some works made by man. It is also shown how through materialism, man has lost his link with the original spirit. This work points out where and how the misunderstanding took place and how it is possible to return to the lost way, including elements from other cultures which have been disregarded by traditional History, and which, viewed from a proper angle, allow a different reading of historical development.

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THEREFORE, part 2

The geometric and arithmetic rules meant the achievement of ideal forms themselves as Sufis came to symbolize the unique pattern of existence, something simillar to the Pythagoric conception of the universe.

Thus the artist becomes a sage or “arif”, knowing the sacred and eternal laws that govern life, where everything repeats and renews.

Learning from the rhythms of nature, on the growth of plants and living things in general and the discovery of its intrinsic proportions, almost all governed by Φ.

This will result in an aesthetic based on the geometry in which the emotion overflows to look and check the repetition of the various life cycles.

The contemporary scientific findings of Nobel Prize winner,Dr. Daniel Shechtman of quasicrystals show us in their verifiable electronic diffraction patterns underlying them, they draw the structure of girih mosaics.

Unless the underlying messages of the diffraction patterns and after the Girih mosaics Sufis messages, say the opposite, they show us, obviously, the occult and transcendental. Always from the Islamic point of view, artistic creativity does not involve the search and discovery of the new, modern false conception of the original, but in recreating a theme with variations multiplying ad infinitum, as in the Pythagorean pentalpha or the fractalic Tchow .